Whenever I am tired of making photographs of drawings, I make drawings of photographs.

Perhaps the first photograph ever taken, Niépce's view of the rooftops over Saint-Loup-de-Varennes, was a truly pure photograph. The second one he took, he was already comparing nature to the first photograph he had taken.

In the back of every painting there's an entire universe that makes it possible for the painting to be there: an army of conservators, technicians, people who maintain these things, the market.

I'm a student of media and I've always been one. I'm fascinated by the way we make the world around us based on pictures and how can we improve our perception of this picture world.

It's not about fooling somebody, it's actually giving somebody a measure of their own belief: how much you want to be fooled. That's why we pay to go to magic shows and things like that.

When you organize your work and look back at your entire production, it may feel like you're looking at a straight line, but in fact it's nothing like that. The work is very experimental and most of the time it develops like branches. I usually see a capillary, like a tree shape where there are... branches that sort of move because you're not tending to them.

Every time you show something to somebody they're going in one direction, when they see that thing you did they're going to go off track - maybe towards a direction that you think is more important. They'll be more discerning, they'll probably see things a little bit more profoundly, they'll spend more time trying to understand what's in front of them.